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Happily Ever After transcript
Episode 11 - Written by: Damon Lindelof & Carlton Cuse Directed by: Jack Bender Act 1 - Desmond is in a Hospital bed at a Dharma facility. Zoe is adjusting his I.V. drip control. ZOE: Mr. Hume, my name is Zoe. I know you're disoriented, you've been unconscious for the last three days. But you're off the I.V. sedation now, and I've just given you a shot to help you wake up. DESMOND: Are you a nurse? ZOE: You're not in the hospital anymore Mr. Hume, we had to move you. DESMOND: What, move me? Move me where? Where's my wife? sits up in bed. ZOE: No, wait Mr.-Mr.-No, you shouldn't, you shouldn't-- DESMOND: I want to see Penny. WIDMORE: I'm afraid that's not going to be possible, Desmond. DESMOND: scoffs You. groans. WIDMORE: Easy, Easy. I'll take it from here. leaves. WIDMORE: Desmond-- DESMOND: What happened to me? Where am I? WIDMORE: You were shot. By Benjamin Linus. Do you remember that? DESMOND: Yes, I remember. Look I want to talk to Penny. Penny! WIDMORE: She's not here. But I assure you both she and your son are perfectly safe. I'm really sorry for taking you away from them but...I didn't have a chance to explain. And...if I had, you never would've come with me. DESMOND: Come with you? Come with you where? WIDMORE: I brought you back to the Island. I can't imagine how you must be feeling. But if you'll give me a chance to explain-- leaps out of bed and begins bashing Widmore with the I.V. drip stand. Two of Widmore's men rush in and restrain Desmond. WIDMORE: Damn it! Don't hurt him. DESMOND: You take me back! You take me back right now, you hear?! WIDMORE: I can't take you back. The Island isn't done with you yet. yells. Widmore leaves the room. Jin and Zoe are in the corridor. JIN: What is Desmond doing here? WIDMORE: It would be easier for me to show you, than to tell you, Mr. Kwon. Zoe Take him with you to the generator room. I'll be along with Hume so we can start the test. ZOE: Charles, th-that test isn't scheduled until tomorrow. WIDMORE: I know when it's scheduled. Get them ready now. ---- and Jin walk towards the generator room. Jin looks around at some large electrical equipment. ZOE: Come on, no time for sightseeing. enter the control room. Various personnel are working on equipment, including Seamus. ZOE: They're bringing Hume down now. SEAMUS: What? ZOE: You heard me, we are go right now. What's your timeframe? SEAMUS: We're not even close to being ready! This generator probably hasn't run in twenty years. How am I supposed-- ZOE: Widmore doesn't want to wait. JIN: What are you doing here? ZOE: We're running a little test. JIN: What kind of test? SEAMUS: Alright let's see where we are. Can we get a functioning E.M. field going, people? UNKNOWN VOICE: Sure thing. SEAMUS: Then try a power test. Generator to full, please. UNKNOWN VOICE: Okay. SEAMUS: Here we go. On my count... three...two...one...and power on. pulls a lever. Equipment whirrs into operation then dies down again. SEAMUS: Great. We've probably got a faulty contact somewhere, find it! Simmons, go down and check the circuits on the solenoids. SIMMONS: Yes sir. SEAMUS: a white rabbit in a cage And guess what, Angstrom, you're going in there next. goes to the solenoids and begins taking readings with a handheld meter. In the control room, one of the team is about to throw a switch. UNKNOWN TECHNICIAN: Found it! It was a bad breaker on the genny. Bringing it back online now. ZOE: No! throws the switch. The solenoids spark into life, and the solenoid room emits bright light. ZOE: No! SEAMUS: Turn it off, turn it off! switch is reversed, activity dies down in the solenoid room. Zoe, Seamus and Jin rush out to investigate and find the charred and smoking body of Simmons. ZOE: Oh my god. arrives. WIDMORE: Zoe. Are we ready? is dragged into the room and sees the body. Act 2 body is being removed. MAN: Got it. WIDMORE: Stop. briefly uncovers the body to see the charred face. WIDMORE: You can take him now. Thank you. toward Desmond Put him inside. men drag Desmond into the solenoid room. DESMOND: Hey. What the hell are you doing? tie him to a chair. WIDMORE: I know how this looks, Desmond. But if everything I've been told about you is true, you'll be perfectly fine. WIDMORE'S MAN: You don't have any metal on you do you? Keys? Change? WIDMORE: Course he doesn't, you idiot. I hate to resort to forcing this upon you, Desmond. But once it's over I'm going to ask you to make a sacrifice. And I hope for all our sakes you'll help me. DESMOND: Sacrifice? What the bloody Hell do you know about sacrifice? WIDMORE: My son died here for the sake of this island. Your wife - my own daughter - hates me. And I've never even met my grandson. But if you won't help me, Desmond, all of it will be for nothing. Penny, your son, and everyone else, will be gone forever. and his men leave and close the door, Desmond begins yelling and struggling, he breaks the chair and starts bashing on the door. Widmore returns to the control room. DESMOND: Aah! Uhh! Aah! WIDMORE: All right, turn it on. JIN: No! If you want me to help you with whatever you're doing here, you need to explain to me-- WIDMORE: That man is the only person I'm aware of, in the world, who has survived a catastrophic electromagnetic event, I need to know that he can do it again, or we all die. Turn it on! throws a switch The equipment whirrs into operation. WIDMORE: Do we have full power? SEAMUS: Yeah, but... walks over and throws the remaining three levers. The equipment gets louder. DESMOND: Let me out! solenoids begin to spark and project a field and bright light. DESMOND: Let me out you bastards! Let me out! Let me out! Let me out of here! Let me out of here! Screams. ---- sideways - Desmond is at LAX looking at the Oceanic arrivals information screen. Hurley walks by. HURLEY: It's carousel four. DESMOND: Sorry? HURLEY: You were on the Sydney flight, right? DESMOND: Yeah. HURLEY: Our bags on carousel four, I double checked it with the dude at the counter. DESMOND: Thank you. is struggling to get her baggage from the carousel. DESMOND: Hang on, I got it, I got it. lifts the bag off. CLAIRE: Thank you so much. DESMOND: Pleasure. You got any more bags? CLAIRE: No uhhh, that's it, thank God. DESMOND: Boy or a girl? CLAIRE: Ummm. DESMOND: Oh I'm sorry, I-I didn't mean to pry. CLAIRE: Oh no it's fine, I just ummm, I don't know what it is. DESMOND: All right. Well you're braver than I, you know. I'm not a big fan of surprises. another passenger Oh excuse me, that's mine. takes his luggage. DESMOND: So, have you got someone meeting you? CLAIRE: Uhh yeah, uh maybe they got the flights messed up or something. DESMOND: Because I've got a car picking me up. You now, If you need a ride I'd be more than happy to give you a lift. CLAIRE: Oh no, no, that's ummm, that's really sweet of you but I'm good, there's cabs, so... DESMOND: All right, well, it was nice meeting you. CLAIRE: Yeah nice to meet you too. walks away from him. DESMOND: A boy. CLAIRE: What? DESMOND: Bet it's a boy. Minkowski is a driver holding up a sign for "Hume". Desmond approaches. DESMOND: Looks like I'm with you. GEORGE: Mr. Hume, hello. Let me grab that for you. DESMOND: Thank you. GEORGE: My name is George. DESMOND: Hi, George. GEORGE: So, I'll take you back to your hotel? DESMOND: The office. GEORGE: Office. Wonderful. This way please. So uh, you flew in from Sydney huh? DESMOND: Yeah, that's right. GEORGE: And what, what were you doing uh down under? DESMOND: I was closing a deal for the boss. GEORGE: Oh good for you, congratulations. Hey listen, if you need anything at all while you're in town, I know everyone. You need a reservation? You just pick a restaurant. DESMOND: The room service at the hotel's excellent, thank you. gets into the car. George whispers to him. GEORGE: You uhh, you looking uh for some company? I noticed that you weren't wearing a wedding band. And there are a lot of lovely ladies offering their uh companionship. DESMOND: I'm not looking for any companionship. I'm here to work. GEORGE: Guess that's why you're the boss's right-hand man, and I am the driver. Okay. Got it. shuts the car door. ---- arrives at Widmore's office. RECEPTIONIST: Good morning Mr. Hume, how was your flight? DESMOND: Lovely, thank you. RECEPTIONIST: He said to send you right in. DESMOND: Thank you. enters the office. DESMOND: Charles. WIDMORE: Hello, Desmond. Welcome to Los Angeles, my friend. DESMOND: Thank you. embrace. Act 3 office. Desmond is looking at a model of a black sailing ship. Widmore is talking on the phone to an unknown person. WIDMORE phone: I don't give a bloody damn what he did, or how much it's going to cost. Just get him arraigned and get him out of there. hangs up. WIDMORE: Sorry Desmond. Looks like our celebration of the Australian deal is going to have to be cut short. You are aware that my son is a musician? DESMOND: Yes. I've heard he's quite talented. WIDMORE: Yeah he is, quite. Anyway, my wife is putting together one of her charity events and uh, the boy had the crazy idea to combine classical music with modern rock. You heard of a band called Drive Shaft? DESMOND: No, can't say I have. WIDMORE: Their bass guitarist overdosed and uh, got himself arrested. And now, if I don't get this junkie to my wife's event she will, simply put, destroy me. DESMOND: So you want me to babysit him? WIDMORE: I know it's beneath you, but I need someone I can trust to do the job right. DESMOND: Say no more Charles, it's done. WIDMORE: Huh. stands up and walks across the room. WIDMORE: You really do have the life, son. No family, no commitments, ahh to be free of attachments. DESMOND: I'm a blessed man, Sir. WIDMORE: No, it is I who am blessed, to have you in my employ. A drink, to celebrate your indispensibility. pours two glasses of MacCutcheon whisky. DESMOND: That's your sixty-year-old Scotch, Charles. WIDMORE: Nothing's too good for you. DESMOND: Slàinte. raise their glasses and clink them together. ---- arrives at the courthouse as Charlie is leaving with a lawyer. LAWYER: Mr. Hume? DESMOND: That's right. LAWYER: Bail's all been taken care of. Remember he's not allowed to leave the state. DESMOND: Good. Mr. Pace, I'm Desmond Hume. Charles Widmore sent me. wanders off. DESMOND: Hey! Where you going? LAWYER: He's all yours. DESMOND: Hey! carelessly crosses the road, causing several cars to slam on their brakes. DRIVER: What's wrong with you?! Idiot! looks at his watch, then crosses the road and joins Charlie in a bar. ---- DESMOND: bartender I'll have whatever he's having. Charlie One drink, then we go. CHARLIE: So what's your job then, to babysit me? What are you? Mr. Widmore's chief lackey? Henchman? DESMOND: No title. Plenty of perks though. CHARLIE: Hmmm, such as? DESMOND: I get to meet charming people. CHARLIE: Well, cheers then. Tell me perky, are you happy? DESMOND: Quite. CHARLIE: No you're not. DESMOND: Well, I've got a great job, lots of money, get to travel the world. Why wouldn't I be happy? CHARLIE: Have you ever been in love? DESMOND: Thousands of times. CHARLIE: That's not what I'm talking about. I'm talking about spectacular, consciousness-altering love. Do you know what that looks like? DESMOND: I wasn't aware that love looked like anything. CHARLIE: I've seen it, mate. On the plane back from Sydney. DESMOND: Is that so? Well we were on the same flight, so...maybe I saw it too. CHARLIE: Trust me, you didn't. DESMOND: Oh? Enlighten me. CHARLIE: There was this woman, two rows in front of me, in handcuffs, sitting with a cop. He looked at me, knew I was holding. If I didn't take action I'd be caught. So I got up, went to the lav, proceeded to eliminate the evidence by swallowing my stash. And at that exact moment we hit turbulence. I choked. The entire bag of heroin is stuck in my throat. It's, uh, it's over. Everything starts to go dark, I'm slipping into the abyss, and then I see...her. DESMOND: Her? CHARLIE: A woman. Blonde, rapturously beautiful, and I know her. We're together. It's like we've always been, and always will be. This feeling, this love, and just as I'm about to be engulfed by...(snaps fingers) I open my eyes, and this sodding idiot is standing there asking me if I'm okay. But I saw it, just for a moment, I saw what it looked like. DESMOND: Well that's just...poetry, brother. You know you should, you should write a song about that. CHARLIE: Yeah yeah yeah yeah, I know what you're saying - poor suicidal rock star. But I've seen something real, I've seen the truth. DESMOND: No, that's not the truth. You want to know the real truth, Pace? Right now you have a choice - you can keep on drinking, or you can come with me. Now before you make your choice, realize that if you stay here, it will very likely result in the extermination of your musical career. CHARLIE: And if I go with you? DESMOND: In twenty minutes, you'll be luxuriating in a five-star hotel, right on the harbor front, and Charles Widmore - one of the most powerful men in this town, will owe you a favor. CHARLIE: Doesn't really seem like a choice. DESMOND: There's always a choice, brother. ---- is driving with Charlie. Drive Shaft's song, "You All, Everybody" is playing on the radio. CHARLIE: That's my band, Drive Shaft, our first single. The beginning of everything great. You like it? DESMOND: Sure, for what it is. CHARLIE: I feel sorry for you, mate. chuckles. You think you're happy. You think you've got it all--this, your life. But, you don't. DESMOND: Why, because none of it's real? CHARLIE: All right, Mr. Hume. How about I offer you a choice? DESMOND: What's that? CHARLIE: I can either show you what I'm talking about, or you can get out of the car. chuckles. DESMOND: Why in God's name would I want to get out of the car? screech. Charlie takes hold of the wheel and forces the car out of control, off the dock and into the harbor. DESMOND: Aah! Uhh! Desmond removes his seatbelt. DESMOND: gurgling Charlie! Charlie! attempts to release Charlie's seatbelt. Come on! surfaces gasping. He inhales deeply, and dives down to the submerged car. He is unsuccessful in opening Charlie's door. Charlie makes no attempt to escape; calmly turns to Desmond and holds up his left hand to the closed window. Desmond reads what is written on Charlie's hand: "NOT PENNY'S BOAT". Desmond has a flash of a visual memory--on the Island, in the Looking Glass station, where he witnessed Charlie drowning in the original timeline. Desmond recalls the sight of Charlie's hand with the words: "NOT PENNY'S BOAT". Desmond successfully opens the door and gets unconscious Charlie out and to the surface. DESMOND: while dragging Charlie to the dock Come on! Come on! Damn it! Act 4 is in a hospital, being examined. DOCTOR: You sustained a pretty bad bump in your accident. Any nausea? DESMOND: Nope. DOCTOR: Double vision? DESMOND: No. Listen, I need to find the man I was brought in here with. DOCTOR: How about hallucinations? DESMOND: What do you mean? DOCTOR: Hallucinations. Seeing things that aren't there. DESMOND his head: Um, I'm not sure. DOCTOR: Well, your C.A.T. scan was inconclusive. I'm going to send you downstairs for an M.R.I. DESMOND: No, I don't have time for this. I need to find the man I came in here with. DOCTOR: I'm afraid you're not finding anyone until we know what's going on inside your brain. ---- sits at an M.R.I. machine speaking with a technician. TECHNICIAN: Are you wearing any metal? Carrying keys or change? Any metal inside your body--pacemakers, pins, bullets, steel plate inside of your head? DESMOND: No. Nothing. TECHNICIAN: I see you didn't list an emergency contact, no friends or family? DESMOND: Um, just put down my employer, Charles Widmore. TECHNICIAN: This machine is super loud. You're gonna want these. Desmond ear plugs and straps him to table. And you need the button. DESMOND: The button? TECHNICIAN: The panic button. You need to stop, press it. Try not to 'cause we'll have to start all over again from the beginning. I'll be in that booth over there. You'll be able to hear me. Thirty minutes, okay? head coil is positioned around Desmond's head and he is sent into the M.R.I. TECHNICIAN: Okay, here we go. noises are heard and Desmond has visual flashes of scenes from the original timeline: again he sees Charlie drowning; Penny smiling, kissing Penny,the birth of young Charlie; Charlie as a toddler; other scenes of kissing Penny. He also hears Penny's voice. Desmond. DESMOND: Hey! Let me out of here. pushes the panic button. DESMOND: Hey! Hey! TECHNICIAN: Desmond from M.R.I. What happened, man? Are you all right? DESMOND: I need to find the man I came in here with. up, taking out ear plugs. I need to find the man I came in here with. ---- is speaking to a desk nurse at the hospital. DESMOND: His name is Charlie Pace. He came in an hour ago. He just give me his room number. NURSE: If you're not a relative, that's confidential information. DESMOND: Look, we were in an accident together. I need to see him! NURSE: Sorry, sir. There's nothing I can do. Shepard passes by. DESMOND: Hey. Excuse me. Um, were you on the same Oceanic flight um, from Sydney. JACK: Yeah, yeah, you were sitting next to me. Desmond, right? DESMOND: Yeah, that's right. Listen. I wonder if you can help me, brother. I need to find someone. He was on our plane. He's somewhere in the hospital. JACK: Hold on. He was on our plane and now he's here in the hospital? is a commotion down the hall. Charlie, in a hospital gown, is being chased. CHARLIE: None of this matters. None of this matters. WOMAN: No! Sir! Please, stop! JACK: Take it easy. chases Charlie down a stairwell and catches up to him downstairs. DESMOND: Why are you running? CHARLIE: Cause no one here can help me. Now let me go. DESMOND: Why'd you try and to kill me? CHARLIE: I didn't try and kill you. I was trying to show you something. DESMOND: Want to show me something? Show me your hand. CHARLIE: What? DESMOND: Your hands. Show me your bloody hands now. CHARLIE: You saw something, didn't you? In the water. What was it? grabs Charlie's hands. CHARLIE: What are you looking for, mate? DESMOND: Who's Penny? CHARLIE: I don't know. Ah. You felt it, didn't you? DESMOND: I didn't feel anything. CHARLIE: Then, why are you accosting a man in a dressing gown? DESMOND: All right. Come on. We're leaving. grabs Charlie but he resists. CHARLIE: Whoa! You think I'm going to play a rock concert after this? This doesn't matter. None of this matters. All that matters is that we felt it. You wanna try and stop me, good luck. DESMOND: Hey, where you going? CHARLIE: If I were you I'd stop worrying about me and start looking for Penny. leaves. Act 5 and Desmond are having a phone conversation. WIDMORE: What do you mean he's gone? DESMOND: Look he escaped. He knocked over a doctor with a bloody crash cart and then ran out of the hospital. WIDMORE: And you let him go? DESMOND: He's a junkie who drove my car into the ocean, Charles. I'm fine, by the way. Thanks for asking. WIDMORE: And I'm thrilled you survived, Desmond. But when I give you a job to do, I expect you to do it. DESMOND: With all due respect, sir, it's just a bloody concert. WIDMORE: I tell you what, Desmond, if you can't deliver Pace, why don't you tell Mrs. Widmore, it's only a bloody concert. ---- drives Desmond to a museum. He gets out and opens the limousine door. GEORGE: Mr. Hume. So you’ve never met the boss' wife, huh? DESMOND: No. GEORGE: Good luck. a reception tent, Eloise speaks to a waiter. ELOISE: Please, tell me, how is it that someone in your line of work is not aware that the butter knife is placed handle to the right, blade facing left? Just so. WAITER: Okay. ELOISE: For God's sake. DESMOND: Mrs. Widmore? ELOISE: Yes! DESMOND: My name is Desmond Hume. I work for your husband. ELOISE: Of course, Mr. Hume. Charles has told me so much about you. It's a travesty we haven't met before... Well, it's about time. DESMOND: Well, the feeling is mutual, Mrs. Widmore. ELOISE: Oh, please. It's Eloise. DESMOND: Eloise. ELOISE: So uhh, what crisis forced Charles to send his best fix-it man into the bowels of charity balls? DESMOND: Well, Eloise, uh, I'm deeply sorry but it appears as if, uh, Drive Shaft won't be able to perform alongside your son. And, uh, I take full responsibility-- silences him. ELOISE: Don't worry about it. DESMOND: Excuse me? ELOISE: Oh, my son will understand. I suppose if one employs so-called rock stars, certain unpredictability comes with the territory. DESMOND: Yeah. You're not angry? ELOISE: Oh, not at all dear. What happened, happened. Thank you so much, Mr. Hume, for coming and telling me in person. A pleasure meeting you. DESMOND: And you. ELOISE: a staff member Uh, center that flower arrangement, please. DESMOND: Have a good evening. ELOISE: Thank you! overhears a man reading down a guestlist on his way out. MAN: Leifer, Stefanie, plus two. Markey, Mary, plus one. Milton, Penny solo. Pepper, Nicholas, plus one. DESMOND: Excuse me. I'm sorry, um, did you just say Penny? MAN: And who are you? DESMOND: Um, I work for Mr. Widmore, may I see the list? grabs the list from Desmond. ELOISE: You absolutely may not. That list is confidential. DESMOND: Begging your pardon, I'm entrusted with confidential items every day. ELOISE: Are you questioning me? DESMOND: No, I just want to look at one name on that list. And, if for some reason, that's a problem... ELOISE: Come with me. leads him to another tent. ELOISE: the staff Out! Everyone, now! all leave immediately. DESMOND: Look, I'm, I'm sorry, if I've overstepped my bounds. ELOISE: Stop talking, Hume. I've heard what you've had to say, now you listen to me. I want you to stop. DESMOND: Stop? Stop what? ELOISE: Someone has clearly affected the way you see things. This is a serious problem. It is, in fact, a violation. So, whatever you're doing, whatever it is you think you're looking for...You need to stop looking for it. DESMOND: Do you, do you know what I'm looking for, Mrs. Widmore? ELOISE: I don't know why you're looking for anything? You have the perfect life. On top of it, you’ve managed to attain the thing you wanted more than anything--my husband's approval. DESMOND: How do you know what I want? ELOISE: Because I bloody do. DESMOND: I need to see that list...or you need to tell me why I can't. ELOISE: You can't because you're not ready yet, Desmond. walks away from him. DESMOND: Ready? Ready, for what? ---- makes his way back to the limo. George gets out and opens a door for him. GEORGE: That bad, huh? DESMOND: Is there any alcohol in this car? GEORGE: Oh, yeah. Whatever you need. So, uh, where to, Mr. Hume? DESMOND: Just drive, George. man knocks on Desmond's window. DANIEL: Mr. Hume? DESMOND: Yes? DANIEL: My name is Daniel, Daniel Widmore. We need to talk. Act 6 and Daniel walk to a bench and sit down on it. DESMOND: Look, uh, Mr. Widmore, um... DANIEL: Dan, please. Call me, Dan. Mr. Widmore is my father. DESMOND: Dan, if this is about Charlie Pace not being able to perform with you, I'm, I'm very sorry. DANIEL: Do you believe in love at first sight, Mr. Hume? DESMOND: Excuse me? DANIEL: First time I saw her was walking through this museum, few weeks ago. She, she works here. She was on her lunch break. She was eating a chocolate bar. She has these incredible blue, blue eyes, red hair. And, as soon as I saw her, right, right in that moment, it was like, it was like I already loved her. And that's when things got weird. a notebook from his bag. That same night after I saw that woman, I woke up and I wrote this. DESMOND: So what is it? DANIEL: I'm a musician. I have no idea. So I took it to a friend of mine at Caltech. He's a math whiz. He said this is quantum mechanics. He said these equations are so advanced that only someone who'd been studying physics their entire life could have come up with them. DESMOND: So what do they mean? DANIEL: Okay. Imagine, imagine something terrible is about to happen. Something catastrophic, and the only way to stop it from happening is by releasing a huge amount of energy. Like setting off a nuclear bomb. DESMOND: You wanna set off a nuclear bomb. DANIEL: Just listen, what if, this, all this, what if this wasn't suppose to be our life? What if we had some other life and for some reason, we changed things? I don't want to set off a nuclear bomb, Mr. Hume. I think I already did. DESMOND: Listen, mate, um. I don't know what any of this has to do with me, so... DANIEL: Why did you ask my mother about a woman named Penny? It happened to you, too, didn't it? You felt it. DESMOND: I don't know...I don't know what I felt. DANIEL: Yes, you do. You felt love. DESMOND: That's impossible, because I don't know anything about this woman, I don't know...I don't know where she is. I don't even know if she exists. She's...she's an idea. DANIEL: No, Mr. Hume. She's my half-sister. And I can tell you exactly where and when you can find her. ---- arrives at a stadium. He spots Penny running up and down the steps of the aisles. She stops for a rest, and he approaches her. PENNY: down Hi. DESMOND: Excuse me. PENNY: Yeah. DESMOND: Are you Penny? PENNY: Uh, yes. DESMOND: Hello, I’m Desmond. PENNY: and shakes Desmond's hand Uh, Hi. ---- - Desmond wakes up inside the solenoid room. MAN: Checking in now. door is opened. SEAMUS: He's okay! WIDMORE: Indeed he is! How are you, Desmond? How are you feeling? DESMOND: Fine. How long was I unconscious for? WIDMORE: Oh, no more than a few seconds. DESMOND: Will you help me up, please. does so. WIDMORE: I'm really sorry we had to do this to you, Desmond. But, as I told you, your talent is vital to our mission. So, if you just let me explain... DESMOND: It's all right. I understand. WIDMORE: What? DESMOND: I said, I understand. DESMOND: You told me you brought me here to the island to do something very important. WIDMORE: Yeah. DESMOND: When do we start? ---- and two of Widmore's men lead Desmond through the jungle. ZOE: What happened to you? DESMOND: What do you mean? ZOE: What I mean is, twenty minutes ago you were beating the crap out of Widmore with an I.V. stand and, and now you’re Mr. Cooperative. DESMOND: A lot can happen in twenty minutes. ZOE: Sure can. That thing fried your brain. DESMOND: Did it? ZOE: Whatever, doesn’t change that we're gonna... suddenly appears from the jungle and attacks and overcomes Widmore's men. He points his gun at Zoe. SAYID: Zoe Run. flees. SAYID: Desmond, I don't have time to explain, but these people are extremely dangerous. We need to go now. DESMOND: Aye, of course. Lead the way. ---- sideways - Desmond is lying on the ground, waking up. PENNY: Hello? You okay? DESMOND: What happened? PENNY: Well, I shook your hand and then you fainted. I must have quite an effect on you. DESMOND: Aye, aye you must have. PENNY: Have we met before? DESMOND: I-I think we'd have remembered it, if we had. PENNY: Yeah. Well, as long as you're sure you're all right. DESMOND: Yeah, I'm fine. Hey, listen, um, would you like to go for a coffee? PENNY: What, now? I'm a sweaty mess. DESMOND: I just fainted in front of you. I'd say we're even. PENNY: There's a coffee shop on the corner of Sweetzer and Melrose. I'll meet you there in an hour. DESMOND: Absolutely. PENNY: Okay. DESMOND: Okay. leaves. Desmond smiles and breaths a sigh of relief. ---- returns to the limo. GEORGE: So, did you find what you were looking for? DESMOND: Yes, George, I did. Corner of Melrose and Sweetzer, please. GEORGE: You got it. And if there is anything else I can do for you, Mr. Hume, you just name it. DESMOND: Actually, there is one thing, George. Can you get me the manifest for my flight from Sydney, Oceanic 815, just the names of the passengers? GEORGE: Sure I can. Do you mind if I ask you what you need it for? DESMOND: I just need to show them something... Category:Season 6